actor, actresses and directors that kept me away from the movies

Belonging to an important family clan in Wisconsin, Joseph Losey studied philosophy but was always interested in theater and thus worked together with Bertolt Brecht. After directing some shorts for MGM, he made his first important film, The Boy with Green Hair (1948), for RKO. While he was filming The Prowler (1951) in Italy he was summoned to testify before the House Un-American Activities Committee, the congressional committee charged with "rooting out" Communist "subversion" in the motion picture industry. Unwilling to subject himself to the committee's well-known intimidation tactics, Losey decided to seek exile in Great Britain. In the following years he used a pseudonym--"Joseph Walton"--for his films, which were of minor quality. He regained his prestige with the thrillers Chance Meeting (1959), The Concrete Jungle (1960) and Eva (1962). From that point on his films varied between top-quality work like Accident (1967) and much lower-quality projects such as Modesty Blaise (1966), which was a box-office success, and Galileo (1975), which wasn't.

Wesley Trent Snipes was born in Orlando, Florida, to Marian (Long), a teacher's assistant, and SMSGT Wesley Rudolph Snipes, an aircraft engineer. He grew up on the streets of the South Bronx in New York City, where he very early decided that dance and the theatre were to be his career. He attended the High School for the Performing Arts (popularized in Fame (1980)). But dreams of the musical theater (and maybe a few commercials) faded when his mother moved to Orlando, Florida before he could graduate. Fortune would have it that he along with two friends and his "Drama class" teachers Mr. S Porro and K. Rugerio, would start a bus-n-truck theatre company (Struttin Street Stuff) be instrumental in his high schools (Jones High) induction into the International Thespian Society, Orlando Chapter and help lay the foundation for what would become Dr. Phillips High Schools theatre arts program. Musical theatre rooted Snipes performed song-n-dance, puppetry, and acrobatics in city parks, dinner clubs, and performing arts centers around central Florida. As a recipient of a Victor Borge Scholarship, Snipes left Orlando and entered the world-renowned professional theatre arts program at SUNY Purchase in New York, now Purchase College, where he honed his theatrical performance and martial arts skills. Graduating with a BFA, he went on to co-star in a few soap operas and nighttime dramas, peppered in between critical acclaim performances Broadway. It was there in a Broadway theater An agent saw him on stage and invited him to audition for his first feature film role.

Goldie Hawn Wildcats (1986). Athletic roles such as that gave way to dramatic roles such as that gave way to tough guy roles as in New Jack City (1991), and to the action hero in Passenger 57 (1992). Wesley feels that at least with the Hollywood heavyweights he must be doing something right - Sylvester Stallone, Robert De Niro, Dennis Hopper and Sean Connery all had veto power over casting and all approved his role. Wesley also founded Amen Ra Films Production Company, and is a Multi System Combat Arts Black Belt Holder IT Technologist & VC.

Julia Fiona Roberts never dreamed she would become the most popular actress in America. She was born in Smyrna, Georgia, to Betty Lou (Bredemus) and Walter Grady Roberts, one-time actors and playwrights, and is of English, Irish, Scottish, Welsh, German, and Swedish descent. As a child, due to her love of animals, Julia originally wanted to be a veterinarian, but later studied journalism. When her brother, Eric Roberts, achieved some success in Hollywood, Julia decided to try acting. Her first break came in 1988 when she appeared in two youth-oriented movies Mystic Pizza (1988) and Satisfaction (1988). The movies introduced her to a new audience who instantly fell in love with this pretty woman. Julia's biggest success was in the signature movie Pretty Woman (1990), for which Julia got an Oscar nomination, and also won the People's Choice award for Favorite Actress. Even though Julia would spend the next few years either starring in serious movies, or playing fantasy roles like Tinkerbell, the movie audiences would always love Julia best in romantic comedies. With My Best Friend's Wedding (1997) Julia gave the genre fresh life that had been lacking in Hollywood for some time. Offscreen, after a brief marriage, Julia has been romantically linked with several actors, and married cinematographer Daniel Moder in 2002; the couple has three children together.

Julia has also become involved with UNICEF charities and has made visits to many different countries, including Haiti and India, in order to promote goodwill. Julia Robert remains one of the most popular and sought-after talents in Hollywood.

Fred Astaire was born in Omaha, Nebraska, to Johanna (Geilus) and Fritz Austerlitz, a brewer. Fred entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele Astaire. After Adele retired to marry in 1932, Astaire headed to Hollywood. Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933). In the latter film, he began his highly successful partnership with Ginger Rogers, with whom he danced in 9 RKO pictures. During these years, he was also active in recording and radio. On film, Astaire later appeared opposite a number of partners through various studios. After a temporary retirement in 1945-7, during which he opened Fred Astaire Dance Studios, Astaire returned to film to star in more musicals through 1957. He subsequently performed a number of straight dramatic roles in film and TV.

Jerry Seinfeld was born in Brooklyn, New York, the son of Betty (Hesney) and Kalman Seinfeld. His father was of Hungarian Jewish descent, while Jerry's maternal grandparents, Salha and Selim Hosni, were Syrian Jewish immigrants (from Aleppo). He moved with his family, including sister Carolyn, to suburban Massepequa, Long Island, at a young age. Jerry's dad, who had a terrific sense of humor, was a commercial sign maker.

Jerry attended Oswego College in upstate New York however transferred to Queens College back in New York City. Developed an interest in stand-up comedy after brief stints in college productions. Went straight from college graduation to amateur night tryout at New York's Catch a Rising Star, 1976.

Continued to perform in local clubs and Catskill Mountain resorts until his career was boosted by an appearance on a Rodney Dangerfield HBO special, 1976. Career took off after first successful spot on The Tonight Show Starring Johnny Carson (1962), May 1981, at age 27. Appearances on [error] and The Merv Griffin Show (1962) followed. Also appeared four times as Frankie on Benson (1979) sitcom. After he was abruptly fired from the show, he swore never to do another sitcom unless he had greater control. This opportunity emerged when he was invited to create a sitcom for NBC in 1989 and teamed with one-time stand-up colleague Larry David.

Progression of "The Seinfeld Chronicles" into the long-running Seinfeld (1989) series phenomenon was ended by its co-creator and co-executive producer, Larry David. Still unmarried, he moved back to New York City into a new multimillion-dollar, multilevel apartment on Central Park West just down the street from his small bachelor studio on West 81st.

Sir John Gielgud enjoyed a theatrical career that spanned 64 years, from a role in a 1924 London production of "The Constant Nymph" to the 1988 production of " Sir Sydney Cockerell: The Best of Friends", and a film career which began in 1924 and ended not long before his death. He played his first Hamlet in London in 1929, and was hailed by many as the Hamlet of his generation (and in hindsight, of the century). In 1965, his Shakespearean colloquy "The Ages of Man" won him a Tony on Broadway. The great actor, at his best in classical roles, even won a Best Supporting Actor Oscar uncharacteristically playing a butler in the comedy hit Arthur (1981).

He was born Arthur John Gielgud on April 14, 1904, in South Kensington, London, to Franciszek Henryk (later Frank Henry) Gielgud, a stockbroker, and his wife, Kate Terry. His father was of Polish ancestry, with distant Lithuanian roots, while his mother was English and from an acting family. His paternal great-grandmother, Aniela (nee Wasinskiej) Aszperger, had been a Shakespearean actress in Poland, and his maternal grandmother, Kate Terry, had played Cordelia at the age of 14. Also on his mother's side, his great-uncle Fred Terry became a stage star acting the role of the Scarlet Pimpernel, and Fred's sister, Ellen Terry, the great stage actress who made her fame as Henry Irving's leading lady, was his great-aunt. (Gielgud's brother, Val Gielgud, became the head of BBC Radio in the 1950s).

Arthur John Gielgud attended Hillside prep school, where he had his first stage experience as Shakespeare's Shylock and as Humpty Dumpty, before moving on to the Westminster school in London. He often played hooky from school to attend performances of the Diaghilev Ballet. He was 17 years old when he made his debut as a professional actor at the Old Vic in 1921, playing a French herald in "Henry V." The next year, his cousin Phyllis Neilson-Terry hired him as an assistant stage manager and understudy for "The Wheel". While pursuing his stage career, he studied acting at Lady Benson's Dramatic Academy before attending the Royal Academy of Dramatic Arts (RADA) for a year. He appeared in his first motion picture in 1923 in the silent picture Who Is the Man? (1924).

Gielgud's first major role on the London stage was as Trofimov in Chekhov's "The Cherry Orchard." In 1924, he understudied Noel Coward in "The Vortex" and "The Constant Nymph," parts he subsequently took over. During the run of "The Constant Nymph", Gielgud met the actor John Perry, who had a walk-on role in Avery Hopwood's "The Golddiggers", starring Tallulah Bankhead. Gielgud and Perry fell in love, and Perry abandoned his unpromising stage career to live with Gielgud in his flat in Covent Garden. Subsequently, Gielgud joined J. B. Fagan's company that played in Oxford and in the West End, as London's commercial theater district was called.

In 1929, Lilian Baylis invited him to join the Old Vic, and he played all the major parts in repertory over the next two seasons, establishing his reputation as a great actor. It was in 1929-30 season that Gielgud first played the title role in William Shakespeare's "Hamlet", which made theatrical history as it was the first time an English actor under 40 had played the part in the West End. Blessed with what Laurence Olivier called "The Voice that Wooed the World", Gielgud revolutionized the role with the speed of his delivery. Developing his interpretation of Hamlet in subsequent performance over the years, he would generally be accorded the greatest Hamlet of his generation and of the 20th century, his facility with the part rivaled only on stage by John Barrymore . But it was his 1929-30 Hamlet and his performance in the title role of Shakespeare's "Richard II", another role he made his own, that earned him the reputation as the premier Shakespearean actor in England.

Inspired by Gielgud's performances, a woman wrote, under the pseudonym Gordon Daviot, the play "Richard of Bordeaux" specifically for him, and he starred in and directed the play. "Richard of Bordeaux" was a box-office smash and made him a celebrity. This huge financial success of the play meant that Gielgud could stage classics in the West End. An innovator, Gielgud pioneered the theater company system. He also encouraged a new generation of actors, including Laurence Olivier, Peggy Ashcroft, Edith Evans, Glen Byam Shaw, Anthony Quayle, George Devine, and Alec Guinness, who reportedly saw him in "Richard of Bordeaux" fifteen times. After World War II, Gielgud proved a mentor to a young de-mobilized R.A.F. enlisted man, Richard Jenkins, who became a star overnight in Gielgud's production of "The Lady's Not for Burning" as Richard Burton. The two remained friends for all of Burton's life, Gielgud directing Burton in his memorable 1964 New York production of "Hamlet".

Gielgud was a notorious workaholic and single-mindedly focused on his craft. Beverley Nichols related how Gielgud returned from a village in late 1939, loaded down with newspapers and a worried look. Asked whether war had finally been declared with Germany, Gielgud replied: "'Oh, I don't know anything about that, but 'Gladys Cooper' has got the most terrible reviews."

Represented by the theatrical agency H. M. Tennent, whose managing director was the famous Hugh 'Binkie' Beaumont, Gielgud lost the romantic affections of John Perry to Beaumont (they were a committed couple until Beaumont's death). During World War II, acting without Gielgud's knowledge, Beaumont obtained an exemption from military service for Gielgud, who expected to be called up, but had to content himself with being a London fire watch warden. In the post-war theater, Gielgud abandoned the romantic roles that made him a box-office star in favor of character work. He was influenced in that direction by the 25-year-old Peter Brook, who directed him in Shakespeare's "Measure for Measure." (The other great Peter, Peter Hall, who founded the Royal Shakespeare Company, and later succeeded Laurence Olivier as director of the National Theatre, directed Gielgud as Prospero in "The Tempest" in 1973, the first production he directed for the NT on the South Bank.)

He became Sir John Gielgud when he was awarded a knighthood in the Coronation Honours list of June 1953. By this time, he had begun a long-term relationship with Paul Anstee. On October 21, 1953, Gielgud was arrested in Chelsea for soliciting a homosexual act in a public lavatory. Arraigned the next morning, he pleaded guilty, apologized to the court, and was fined ten pounds sterling. He had identified himself to the police as "Arthur Gielgud, 49, a clerk, of Cowley Street Westminster." Homosexuality was proscribed by the law in the UK, and Gielgud gave his less common birth name and a phony job description in the hopes that the press would not get wind of his pinch. The police made an attempt to prevent the press from learning of the incident, but in "Evening Standard" journalist was in the court that morning, and for the early afternoon edition, the paper came out with a headline "Sir John Gielgud fined: See your doctor the moment you leave here."

Publicly humiliated, Gielgud worried about how the West End audience would react the next time he appeared on stage. Gielgud was advised not to seek work in the United States for at least four years as he likely would be being refused entry by American immigration authorities. In a letter to Lillian Gish at the time (not revealed until after his death), Gielgud told her that he perhaps should have committed suicide. While Binkie Beaumont initially favored keeping Gielgud off the boards, Gielgud's brother Val, then head of BBC Radio, threatened the homosexual Beaumont with exposure if he kept his brother away from acting. A conference of his friends was called by Beaumont to determine how to best handle the crisis as Gielgud was scheduled to open in N. C. Hunter's play "A Day at the Sea" in the West End, which he was also directing. The "war council" included Laurence Olivier, his wife Vivien Leigh, Ralph Richardson, and Glen Byam Shaw, who was running the Shakespeare Memorial Theatre at Stratford-Upon-Avon. Only Olivier counseled him to postpone the play; the rest urged him to carry on. Gielgud heeded the advice of the majority, and went ahead with the production. Upon entering the stage the first night, the house was brought down by a standing ovation.

Outside the theater, the press whipped up a public backlash over the "homosexual menace." There were fears among the theater's gay community that there would be a police crackdown, leading choreographer Frederick Ashton to say of Gielgud, "He's ruined it for us all." So afraid was his lover Paul Anstee, that he burned all his letters. Gielgud's official biographer, Sheridan Morley, who withheld publication of his authorized biography until after Gielgud's death so as not to broach the subject of the arrest and Gielgud's sexuality during his lifetime, believes that the Gielgud arrest and brouhaha in the press likely were part of an organized campaign against homosexuality that had been festering in Britain since just before World War II.

By the mid-1950s, the traditional English stage was stagnating, as susceptible to an insurrection as the theater had been in the 1930s, when Gielgud's acting and direction had overthrown the old order. Gielgud's 1955 go at Shakespeare's "King Lear" was a failure, and his style of acting went out of fashion after the kitchen-sink theatrical revolution heralded by the Royal Court's May 1956 staging of John Osborne's "Look Back in Anger". Unlike Olivier, who reinvented himself with his characterization of Archie Rice in Osborne's The Entertainer (directed by kitchen-sink stalwart Tony Richardson), an era of rebellion against the cultural Establishment was at hand, which rendered the current lions of the stage passé. It was a new world in which Gielgud felt he had no place.

Gielgud stuck to what he knew. He created a solo recital of Shakespearean excerpts called "The Ages of Man" for the 1957 Edinburgh Festival. The recital proved extremely popular, and he toured with the show for a decade, winning a special Tony Award in 1958 for his staging of the show on Broadway. In the 1960s, he had a notable failure with his "Othello," and he was not a success in Peter Brook's 1968 staging of "Oedipus", two roles that Olivier had excelled in. Laurence Olivier, once his acolyte, was by this time considered the greatest actor in the English language, if not the world. He would become the first actor ennobled when he became Lord Olivier of Brighton in 1970. Gielgud, in contrast, had seemed, like their contemporary Ralph Richardson, to be old-fashioned and behind the times.

He was nominated for a Tony as Julian in Edward Albee's willfully obscure "Tiny Alice" in 1965, but Gielgud did not truly begin to transform himself into a contemporary actor until his appearances in Tony Richardson's 1967 film The Charge of the Light Brigade (1968) and in Alan Bennett's 1968 play "40 Years On...." He continued to revitalize his reputation in 1970, when he appeared in David Storey's "Home," and in 1976, when he appeared in Harold Pinter's "No Man's Land." Along with his reclaimed reputation came an appointment as a Companion of Honour in 1977. His career renaissance was ratified by the winning of an Academy Award for Best Supporting Actor for the film Arthur (1981) in 1981.

Although he had appeared in approximately 80 films, his supercilious character did not make him a popular movie actor, or a particularly distinguished one, aside from his brilliant turn as Cassius in the film adaptation of Julius Caesar (1953) and his gem of a cameo as Clarence in Olivier's Richard III (1955). His genius remained reserved for the stage. (He had even turned down a film offer in the mid-1930s from Alexander Korda to film his great Hamlet.) As The Times eulogized after his death, "To a unique degree his greatest performances coincided with the greatest plays."

John Gielgud met his last love, Martin Hensler, at an exhibition at the Tate Gallery in the 1960s. They kept in touch, and Hensler moved in with Gielgud six years later. They remained a couple for over 30 years until Gielgud's death. Despite the publicity surrounding his 1953 arrest and the legalization of homosexuality in the UK in 1967, Gielgud did not talk publicly about his sexuality, so most of the public did not know that Gielgud was gay. Hensler, with Gielgud's approval, successful lobbied to have the 1988 program notes for Hugh Whitemore's play "Best of Friends" state that he and Gielgud had been a happy couple for many years, but it was not publicized by the press. That play proved to be Gielgud's final appearance in the theater.

Gielgud outlived his great contemporaries, Olivier and Richardson, the Three Knights of the Stage, by a decade. Benedict Nightingale wrote of the three, in 'The Times' (May 23, 2000) that, "Laurence Olivier was the most fiery and physically volatile, Ralph Richardson the earthiest and the quirkiest, but Gielgud was the most vocally exquisite, intellectually elegant and spiritually fine."

Sheridan Morley, his biographer, said: 'Since 1917, when he started in walk-on parts, he never had more than four weeks without work." In his career on stage, he had played every major Shakespearean role, including his favorite, Prospero in "The Tempest", which he later essayed for director Peter Greenaway in "Prospero's Books".

Gielgud could be seen as having made the career of his greatest acolyte, Laurence Olivier, his only rival for the title of Greatest Shakespearean Actor of the 20th Century, a contest most felt that Gielgud won due to the beauty of his phrasing and more cerebral interpretation of Shakespeare. (Olivier was generally considered the better actor in contemporary roles.) A great Richard II (as well as Hamlet), the generous Gielgud made his Bolingbroke possible through both his mentorship of the younger actor at the New Theatre during the 1935 season (where they alternated the roles of Romeo and Mercutio, with Gielgud getting the better reviews), and by reinventing Shakespeare as commercial theater in the 20th century. The modern, revitalized Shakespearean stage willingly embraced the more physical Olivier.

Director Sir Peter Hall, in eulogizing the great man, said. "His work at the Vic in the 1930s, then with his own company, was trailblazing. He was not an old-style actor wanting inferior actors around him so he would look the star, which was what happened in a lot of companies. He wanted to be around people who were better than he was. He believed in that kind of humility. His companies were very happy places, with one humorous qualification - that mercurial mind meant as a director he was always changing it."

Thus, Gielgud's greatest legacy was his work as an actor-manager in the 1930s and 1940s, a time when the commercial West End theater was generally frivolous and its Shakespeare as caught in amber as a D'Oyly Carte production of a Gilbert & Sullivan operetta. Gielgud created classical companies that laid the foundations for the great renaissance of British theater that blossomed after the War, doing the groundwork at the New Theatre in 1935, at the Queen's Theatre in the 1937/38 seasons, and at the Haymarket in 1944. His companies featured in repertory Shakespeare, Sheridan, Congreve, and Chekhov, and his patronage of the design team Motley reinvented the look of British theatrical staging. Aside from Olivier, who went on to found the National Theatre, George Devine founded the English Stage Company in 1956, and Anthony Quayle and Glen Byam Shaw revitalized Stratford during the 1950s.

Without Gielgud, those paragons of the modern English theater, the Royal Shakespeare Company and the National Theatre, likely would not have come into existence. 'Percy' Harris, one of the Motley theatrical design team, said, "I think he single-handedly put English theater back on the map. Larry [Olivier] gets all the credit and John doesn't, which I think is a sign of John's innate modesty."

Gielgud wrote many books in his career, starting with a 1939 autobiography entitled "Early Stages." This was followed by "John Gielgud: An Actor's Biography in Pictures" in 1952, "Stage Directions" in 1963, "Distinguished Company" in 1972, the new autobiography "An Actor in His Time" in 1979 (revised 1989), "Backward Glances: Part One, Time for Reflection: Part Two, Distinguished Company" in 1989, "Teach Yourself" in 1990, and a primer for Shakespearean actors, "Shakespeare - Hit or Miss?" in 1991 (re-published as "Acting Shakespeare" in 1992). In 1994, "Notes from the Gods: Playgoing in the Twenties," based on Gielgud's annotated theater programs from the London theatrical productions from 1919-25, was published. The lifetime awards began to pile up: a BAFTA fellowship award for his lifetime contribution to show business in 1992, the renaming of the Globe Theatre on Shaftesbury Avenue in London's West End as the Gielgud Theatre in 1994, and his appointment to the Order of Merit in 1996.

Gielgud and Hensler lived together in his later years at their country house, South Pavilion, at Wotton Underwood, near Aylesbury, Buckinghamshire, where he died "simply of old age" on 21 May 2000, at 96. That night, the lights at the Gielgud Theatre and 12 others in Andrew Lloyd Webber's Really Useful Group were dimmed for three minutes in tribute to the passing of the man acclaimed as the greatest Shakespearean actor of the century.

At a small memorial service in Buckinghamshire, Sir Alec Guinness, Sir John Mills, Dame Maggie Smith and Lord Richard Attenborough were among those whom paid their respects to the legendary actor. His body was later cremated at a ceremony witnessed by a small group of those closest to him. A year after Gielgud's death, an archive of letters chronicling his personal and professional life was bequeathed to the nation and housed at the British Library. "Style", Gielgud once said, "is knowing what sort of play you're in."

Anthony Quayle was born in Ainsdale, Southport, Lancashire, England in September 1913. He completed his education at Rugby School and had a brief spell at RADA, before treading the boards for the first time as the straight man in a music hall comedy act in 1931. Tall, burly, round-faced and possessed of a powerful and resonant voice, he was mentored early on in his career by the well-known stage director Tyrone Guthrie. Letters of introduction led to steady employment with the Old Vic Company by September 1932, and a succession of small roles in classical parts. Quayle's reputation as an actor grew steadily, and, in 1936, he appeared on Broadway opposite Ruth Gordon in 'The Country Wife'. For the next few years, he consolidated his position as a Shakespearean actor. When the Second World War began, he was among the first in his profession to enlist, serving with the Royal Artillery and rising to the rank of major. Some of his wartime experiences, such as coordinating operations with Albanian partisans as part of the secret Special Operations Executive, were destined to be paralleled by his fictional post-war screen exploits as incisive army officers or spies. With the war still fresh in his mind, he subsequently published two novels (respectively in 1945, and in 1947), 'Eight Hours from England' and 'On Such a Night'.

In 1946, Quayle also made his debut as a theatrical director with a London production of 'Crime and Punishment'. Between 1948 and 1956, he had a distinguished tenure as director of the Shakespeare Memorial Theatre in Stratford-upon-Avon, bringing into the company some of the biggest stars of the stage, including Laurence Olivier and John Gielgud. Though acting in films from 1938, the theatre remained his favorite medium. He played diverse roles with great intensity and professionalism, achieving critical acclaim as Petruchio and Falstaff, Tamburlaine and Galileo (on Broadway) and the original role of Andrew Wyke in Anthony Shaffer's play 'Sleuth' (played in the first screen version by Olivier). In motion pictures Quayle tended to portray tough, dependable authority figures. He was good value for money as Commodore Harwood in Pursuit of the Graf Spee (1956), as the enigmatic Afrikaner captain in Ice Cold in Alex (1958) and as the stuffy, by-the-book Colonel Harry Brighton, who nonetheless appears to have a degree of admiration for Lawrence of Arabia (1962). Due to his classical training, Quayle was often used in historical epics, giving one of his best performances as Cardinal Wolsey in Anne of the Thousand Days (1969), earning him an Academy Award nomination. His voice was heard as narrator of The Six Wives of Henry VIII (1970) and on radio in anything from 'The Ballad of Robin Hood' to Edgar Allan Poe's 'The Purloined Letter'.

The year prior to receiving his knighthood, Quayle founded the touring Compass Theatre Company, and served as its director until a few months before his death from cancer in October 1989.

Joel Schumacher was an American film director, film producer, screenwriter and fashion designer from New York City. He rose to fame in the 1980s for directing the coming-of-age drama "St. Elmo's Fire" (1985), and the vampire-themed horror film "The Lost Boys" (1987). In the 1990s, he worked on two controversial superhero films "Batman Forever" (1995) and "Batman & Robin" (1997). His final high-profile film was "The Phantom of the Opera" (2004). It was an adaptation of Andrew Lloyd Webber's 1986 musical, rather than the original novel. Towards the end of his career, Schumacher primarily worked on low-profile films with small budgets.

Elizabeth Rosemond Taylor was considered one of the last, if not the last, major star to have come out of the old Hollywood studio system. She was known internationally for her beauty, especially for her violet eyes, with which she captured audiences early in her youth and kept the world hooked with ever after.

Taylor was born on February 27, 1932 in London, England. Although she was born an English subject, her parents, Sara Taylor (née Sara Viola Warmbrodt) and Francis Taylor, were Americans, art dealers from St. Louis, Missouri. Her father had moved to London to set up a gallery prior to Elizabeth's birth. Her mother had been an actress on the stage, but gave up that vocation when she married. Elizabeth lived in London until the age of seven, when the family left for the US when the clouds of war began brewing in Europe in 1939. They sailed without her father, who stayed behind to wrap up the loose ends of the art business.

The family relocated to Los Angeles, where Mrs. Taylor's own family had moved. Mr. Taylor followed not long afterward. A family friend noticed the strikingly beautiful little Elizabeth and suggested that she be taken for a screen test. Her test impressed executives at Universal Pictures enough to sign her to a contract. Her first foray onto the screen was in There's One Born Every Minute (1942), released when she was ten. Universal dropped her contract after that one film, but Elizabeth was soon picked up by MGM.

The first production she made with that studio was Lassie Come Home (1943), and on the strength of that one film, MGM signed her for a full year. She had minuscule parts in her next two films, The White Cliffs of Dover (1944) and Jane Eyre (1943) (the former made while she was on loan to 20th Century-Fox). Then came the picture that made Elizabeth a star: MGM's National Velvet (1944). She played Velvet Brown opposite Mickey Rooney. The film was a smash hit, grossing over $4 million. Elizabeth now had a long-term contract with MGM and was its top child star. She made no films in 1945, but returned in 1946 in Courage of Lassie (1946), another success. In 1947, when she was 15, she starred in Life with Father (1947) with such heavyweights as William Powell, Irene Dunne and Zasu Pitts, which was one of the biggest box office hits of the year. She also co-starred in the ensemble film Little Women (1949), which was also a box office huge success.

Throughout the 1950s, Elizabeth appeared in film after film with mostly good results, starting with her role in the George Stevens film A Place in the Sun (1951), co-starring her good friend Montgomery Clift. The following year, she co-starred in Ivanhoe (1952), one of the biggest box office hits of the year. Her busiest year was 1954. She had a supporting role in the box office flop Beau Brummell (1954), but later that year starred in the hits The Last Time I Saw Paris (1954) and Elephant Walk (1954). She was 22 now, and even at that young age was considered one of the world's great beauties. In 1955 she appeared in the hit Giant (1956) with James Dean.

Sadly, Dean never saw the release of the film, as he died in a car accident in 1955. The next year saw Elizabeth co-star with Montgomery Clift in Raintree County (1957), an overblown epic made, partially, in Kentucky. Critics called it dry as dust. In addition, Clift was seriously injured during the film, with Taylor helping save his life. Despite the film's shortcomings and off-camera tragedy, Elizabeth was nominated for an Academy Award for her portrayal of Southern belle Susanna Drake. However, on Oscar night the honor went to Joanne Woodward for The Three Faces of Eve (1957).

In 1958 Elizabeth starred as Maggie Pollitt in Cat on a Hot Tin Roof (1958). The film received rave reviews from the critics and Elizabeth was nominated again for an Academy Award for best actress, but this time she lost to Susan Hayward in I Want to Live! (1958). She was still a hot commodity in the film world, though. In 1959 she appeared in another mega-hit and received yet another Oscar nomination for Suddenly, Last Summer (1959). Once again, however, she lost out, this time to Simone Signoret for Room at the Top (1958). Her Oscar drought ended in 1960 when she brought home the coveted statue for her performance in BUtterfield 8 (1960) as Gloria Wandrous, a call girl who is involved with a married man. Some critics blasted the movie but they couldn't ignore her performance. There were no more films for Elizabeth for three years. She left MGM after her contract ran out, but would do projects for the studio later down the road. In 1963 she starred in Cleopatra (1963), which was one of the most expensive productions up to that time--as was her salary, a whopping $1,000,000. The film took years to complete, due in part to a serious illness during which she nearly died.

This was the film where she met her future and fifth husband, Richard Burton (the previous four were Conrad Hilton, Michael Wilding, Mike Todd--who died in a plane crash--and Eddie Fisher). Her next films, The V.I.P.s (1963) and The Sandpiper (1965), were lackluster at best. Elizabeth was to return to fine form, however, with the role of Martha in Who's Afraid of Virginia Woolf? (1966). Her performance as the loudmouthed, shrewish, unkempt, yet still alluring Martha was easily her finest to date. For this she would win her second Oscar and one that was more than well-deserved. The following year, she and Burton co-starred in The Taming of The Shrew (1967), again giving winning performances. However, her films afterward were box office failures, including Reflections in a Golden Eye (1967), The Comedians (1967), Boom! (1968) (again co-starring with Burton), Secret Ceremony (1968), The Only Game in Town (1970), X, Y & Zee (1972), Hammersmith Is Out (1972) (with Burton again), Ash Wednesday (1973), Night Watch (1973), The Driver's Seat (1974), The Blue Bird (1976) (considered by many to be her worst), A Little Night Music (1977), and Winter Kills (1979) (a controversial film which was never given a full release and in which she only had a small role). She later appeared in some movies, both theatrical and made-for-television, and a number of television programs. In February 1997, Elizabeth entered the hospital for the removal of a brain tumor. The operation was successful. As for her private life, she divorced Burton in 1974, only to remarry him in 1975 and divorce him, permanently, in 1976. She had two more husbands, U.S. Senator John Warner and construction worker Larry Fortensky, whom she met in rehab.

In 1959, Taylor converted to Judaism, and continued to identify herself as Jewish throughout her life, being active in Jewish causes. Upon the death of her friend, actor Rock Hudson, in 1985, she began her crusade on behalf of AIDS sufferers. In the 1990s, she also developed a successful series of scents. In her later years, her acting career was relegated to the occasional TV-movie or TV guest appearance.

Elizabeth Taylor died on March 23, 2011 in Los Angeles, from congestive heart failure. Her final resting place is Forest Lawn Memorial Park, in Glendale, California.

Jimmy L. Smits is an American actor. He is best known for playing attorney Victor Sifuentes on the 1980s-1990s legal drama L.A. Law, NYPD Detective Bobby Simone on the 1990s-2000s police drama NYPD Blue, Matt Santos on the political drama The West Wing, and for appearing in Switch (1991), My Family (1995), and as ADA Miguel Prado in Dexter. He also appeared as Bail Organa in Star Wars. From 2012 to 2014, he joined the main cast of Sons of Anarchy as Nero Padilla. Smits also portrayed Elijah Strait in the NBC drama series Bluff City Law.

Ronald Reagan had quite a prolific career, having catapulted from a Warner Bros. contract player and television star, into serving as president of the Screen Actors Guild, the governorship of California (1967-1975), and lastly, two terms as President of the United States (1981-1989).

Ronald Wilson Reagan was born in Tampico, Illinois, to Nelle Clyde (Wilson) and John Edward "Jack" Reagan, who was a salesman and storyteller. His father was of Irish descent, and his mother was of half Scottish and half English ancestry.

A successful actor beginning in the 1930s, the young Reagan was a staunch admirer of President Franklin D. Roosevelt (even after he evolved into a Republican), and was a Democrat in the 1940s, a self-described 'hemophiliac' liberal. He was elected president of the Screen Actors Guild in 1947 and served five years during the most tumultuous times to ever hit Hollywood. A committed anti-communist, Reagan not only fought more-militantly activist movie industry unions that he and others felt had been infiltrated by communists, but had to deal with the investigation into Hollywood's politics launched by the House Un-American Activities Committee in 1947, an inquisition that lasted through the 1950s. The House Un-American Activities Committee investigations of Hollywood (which led to the jailing of the "Hollywood Ten" in the late '40s) sowed the seeds of the McCarthyism that racked Hollywood and America in the 1950s.

In 1950, U.S. Representative Helen Gahagan Douglas (D-CA), the wife of "Dutch" Reagan's friend Melvyn Douglas, ran as a Democrat for the U.S. Senate and was opposed by the Republican nominee, the Red-bating Congressman from Whittier, Richard Nixon. While Nixon did not go so far as to accuse Gahagan Douglas of being a communist herself, he did charge her with being soft on communism due to her opposition to the House Un-American Activities Committee. Nixon tarred her as a "fellow traveler" of communists, a "pinko" who was "pink right down to her underwear." Gahagan Douglas was defeated by the man she was the first to call "Tricky Dicky" because of his unethical behavior and dirty campaign tactics. Reagan was on the Douglases' side during that campaign.

The Douglases, like Reagan and such other prominent actors as Humphrey Bogart and Edward G. Robinson, were liberal Democrats, supporters of the late Franklin D. Roosevelt and his New Deal, a legacy that increasingly was under attack by the right after World War II. They were NOT fellow-travelers; Melvyn Douglas had actually been an active anti-communist and was someone the communists despised. Melvyn Douglas, Robinson and Henry Fonda - a registered Republican! - wound up "gray-listed." (They weren't explicitly black-listed, they just weren't offered any work.) Reagan, who it was later revealed had been an F.B.I. informant while a union leader (turning in suspected communists), was never hurt that way, as he made S.A.G. an accomplice of the black-listing.

Reagan's career sagged after the late 1940s, and he started appearing in B-movies after he left Warner Bros. to go free-lance. However, he had a eminence grise par excellence in Lew Wasserman, his agent and the head of the Music Corp. of America. Wasserman, later called "The Pope of Hollywood," was the genius who figured out that an actor could make a killing via a tax windfall by turning himself into a corporation. The corporation, which would employ the actor, would own part of a motion picture the actor appeared in, and all monies would accrue to the corporation, which was taxed at a much lower rate than was personal income. Wasserman pioneered this tax avoidance scheme with his client James Stewart, beginning with the Anthony Mann western Winchester '73 (1950) (1950). It made Stewart enormously rich as he became a top box office draw in the 1950s after the success of "Winchester 73" and several more Mann-directed westerns, all of which he had an ownership stake in.

Ironically, Reagan became a poor-man's James Stewart in the early 1950s, appearing in westerns, but they were mostly B-pictures. He did not have the acting chops of the great Stewart, but he did have his agent. Wasserman at M.C.A. was one of the pioneers of television syndication, and this was to benefit Reagan enormously. M.C.A. was the only talent agency that was also allowed to be a producer through an exemption to union rules granted by S.A.G. when Reagan was the union president, and it used the exemption to acquire Universal International Pictures. Talent agents were not permitted to be producers as there was an inherent conflict of interest between the two professions, one of which was committed to acquiring talent at the lowest possible cost and the other whose focus was to get the best possible price for their client. When a talent agent was also a producer, like M.C.A. was, it had a habit of steering its clients to its own productions, where they were employed but at a lower price than their potential free market value. It was a system that made M.C.A. and Lew Wasserman, enormously wealthy.

The ownership of Universal and its entry into the production of television shows that were syndicated to network made M.C.A. the most successful organization in Hollywood of its time, a real cash cow as television overtook the movies as the #1 business of the entertainment industry. Wasserman repaid Ronald Reagan's largess by structuring a deal by which he hosted and owned part of General Electric Theater (1953), a western omnibus showcase that ran from 1954 to 1961. It made Reagan very comfortable financially, though it did not make him rich. That came later.

In 1960, with the election of the Democratic President John F. Kennedy, the black and gray lists went into eclipse. J.F.K. appointed Helen Gahagan Douglas Treasurer of the United States. About this time, as the civil rights movement became stronger and found more support among Democrats and the Kennedy administration, Reagan - fresh from a second stint as S.A.G. president in 1959 - was in the process of undergoing a personal and political metamorphosis into a right-wing Republican, a process that culminated with his endorsing Barry Goldwater for the Republican presidential nomination in 1964. (He narrated a Goldwater campaign film played at the G.O.P. Convention in San Francisco.) Reagan's evolution into a right-wing Republican sundered his friendship with the Douglases. (After Reagan was elected President of the United States in 1980, Melvyn Douglas said of his former friend that Reagan turned to the right after he had begun to believe the pro-business speeches he delivered for General Electric when he was the host of the "G.E. Theater.")

In 1959, while Reagan was back as a second go-round as S.A.G. president, M.C.A.'s exemption from S.A.G. regulations that forbade a talent agency from being a producer was renewed. However, in 1962, the U.S. Justice Department under Attorney General Robert F. Kennedy successfully forced M.C.A. - known as "The Octopus" in Hollywood for its monopolistic tendencies - to divest itself of its talent agency.

When Reagan was tipped by the California Republican Party to be its standard-bearer in the 1965 gubernatorial election against Democratic Governor Pat Brown, Lew Wasserman went back in action. Politics makes strange bedfellows, and though Wasserman was a liberal Democrat, having an old friend like Reagan who had shown his loyalty as S.A.G. president in the state house was good for business. Wasserman and his partner, M.C.A. Chairman Jules Styne (a Republican), helped ensure that Reagan would be financially secure for the rest of his life so that he could enter politics. (At the time, he was the host of "Death Valley Days" on TV.)

According to the Wall Street Journal, Universal sold Reagan a nice piece of land of many acres north of Santa Barbara that had been used for location shooting. The Reagans sold most of the ranch, then converted the rest of it, about 200 acres, into a magnificent estate overlooking the valley and the Pacific Ocean. The Rancho del Cielo became President Reagan's much needed counterpoint to the buzz of Washington, D.C. There, in a setting both rugged and serene, the Reagans could spend time alone or receive political leaders such as the Soviet President Mikhail Gorbachev, Margaret Thatcher, and others.

Reagan was known to the world for his one-liners, the most famous of them was addressed to Mikhail Gorbachev in 1987. "Mister Gorbachev, tear down this wall" said Reagan standing in front of the Berlin Wall. That call made an impact on the course of human history.

Ronald Reagan played many roles in his life's seven acts: radio announcer, movie star, union boss, television actor-cum-host, governor, right-wing critic of big government and President of the United States.

The most internationally acclaimed Spanish filmmaker since Luis Buñuel was born in a small town (Calzada de Calatrava) in the impoverished Spanish region of La Mancha. He arrived in Madrid in 1968, and survived by selling used items in the flea-market called El Rastro. Almodóvar couldn't study filmmaking because he didn't have the money to afford it. Besides, the filmmaking schools were closed in early 70s by Franco's government. Instead, he found a job in the Spanish phone company and saved his salary to buy a Super 8 camera. From 1972 to 1978, he devoted himself to make short films with the help of of his friends. The "premieres" of those early films were famous in the rapidly growing world of the Spanish counter-culture. In few years, Almodóvar became a star of "La Movida", the pop cultural movement of late 70s Madrid. His first feature film, Pepi, Luci, Bom and Other Girls Like Mom (1980), was made in 16 mm and blown-up to 35 mm for public release. In 1987, he and his brother Agustín Almodóvar established their own production company: El Deseo, S. A. The "Almodóvar phenomenon" has reached all over the world, making his films very popular in many countries.

Daniel Francis Boyle is a British filmmaker, producer and writer from Radcliffe, Greater Manchester. He is known for directing 28 Days Later, 127 Hours, Trainspotting, T2 Trainspotting, Slumdog Millionaire, Millions, Shallow Grave, The Beach, Yesterday, and Steve Jobs. He won many awards for Slumdog Millionaire. He was in a relationship with Gail Stevens and had three children.

Wesley Wales Anderson was born in Houston, Texas. His mother, Texas Ann (Burroughs), is an archaeologist turned real estate agent, and his father, Melver Leonard Anderson, worked in advertising and PR. He has two brothers, Eric and Mel. Anderson's parents divorced when he was a young child, an event that he described as the most crucial event of his brothers and his growing up. During childhood, Anderson also began writing plays and making super-8 movies. He was educated at Westchester High School and then St. John's, a private prep school in Houston, Texas, which was later to prove an inspiration for the film Rushmore (1998).

Anderson attended the University of Texas in Austin, where he majored in philosophy. It was there that he met Owen Wilson. They became friends and began making short films, some of which aired on a local cable-access station. One of their shorts was Bottle Rocket (1993), which starred Owen and his brother Luke Wilson. The short was screened at the Sundance Film Festival, where it was successfully received, so much so that they received funding to make a feature-length version. Bottle Rocket (1996) was not a commercial hit, but it gained a cult audience and high-profile fans, which included Martin Scorsese.

Success followed with films such as Rushmore (1998), The Life Aquatic with Steve Zissou (2004), The Royal Tenenbaums (2001) and an animated feature, Fantastic Mr. Fox (2009). The latter two films earned Anderson Oscar nominations.

Abbas Kiarostami was born in Tehran, Iran, in 1940. He graduated from university with a degree in fine arts before starting work as a graphic designer. He then joined the Center for Intellectual Development of Children and Young Adults, where he started a film section, and this started his career as a filmmaker at the age of 30. Since then he has made many movies and has become one of the most important figures in contemporary Iranian film. He is also a major figure in the arts world, and has had numerous gallery exhibitions of his photography, short films and poetry. He is an iconic figure for what he has done, and he has achieved it all by believing in the arts and the creativity of his mind.

Alejandro González Iñárritu (ih-nyar-ee-too), born August 15th, 1963, is a Mexican film director.

González Iñárritu is the first Mexican director to be nominated for the Academy Award for Best Director and by the Directors Guild of America for Best Director. He is also the first Mexican-born director to have won the Prix de la mise en scene or best director award at Cannes (2006), the second one being Carlos Reygadas in 2012. His six feature films, 'Amores Perros' (2000), '21 Grams' (2003), 'Babel' (2006), 'Biutiful' (2010), 'Birdman' (2014) and 'The Revenant' (2015), have gained critical acclaim world-wide including two Academy Award nominations.

Alejandro González Iñárritu was born in Mexico City.

Crossing the Atlantic Ocean on a cargo ship at the ages of seventeen and nineteen years, González Iñárritu worked his way across Europe and Africa. He himself has noted that these early travels as a young man have had a great influence on him as a film-maker. The setting of his films have often been in the places he visited during this period.

After his travels, González Iñárritu returned to Mexico City and majored in communications at Universidad Iberoamericana. In 1984, he started his career as a radio host at the Mexican radio station WFM, a rock and eclectic music station. In 1988, he became the director of the station. Over the next five years, González Iñárritu spent his time interviewing rock stars, transmitting live concerts, and making WFM the number one radio station in Mexico. From 1987 to 1989, he composed music for six Mexican feature films. He has stated that he believes music has had a bigger influence on him as an artist than film itself.

In the nineties, González Iñárritu created Z films with Raul Olvera in Mexico. Under Z Films, he started writing, producing and directing short films and advertisements. Making the final transition into T.V Film directing, he studied under well-known Polish theatre director Ludwik Margules, as well as Judith Weston in Los Angeles.

In 1995, González Iñárritu wrote and directed his first T.V pilot for Z Films, called Detras del dinero, -"Behind the Money", starring Miguel Bosé. Z Films went on to be one of the biggest and strongest film production companies in Mexico, launching seven young directors in the feature film arena. In 1999, González Iñárritu directed his first feature film Amores perros, written by Guillermo Arriaga. Amores perros explored Mexican society in Mexico City told via three intertwining stories. In 2000, Amores perros premiered at the Cannes Film Festival and won the Critics Weeks Grand Prize. It also introduced audiences for the first time to Gael García Bernal. Amores perros went on to be nominated for Best Foreign Film at the Academy Awards.

After the success of Amores Perros, González Iñárritu and Guillermo Arriaga revisited the intersecting story structure of Amores perros in González Iñárritu's second film, 21 Grams. The film starred Benicio del Toro, Naomi Watts and Sean Penn, and was presented at the Venice Film Festival, winning the Volpi Cup for actor Sean Penn. At the 2004 Academy Awards, Del Toro and Watts received nominations for their performances.

In 2005 González Iñárritu embarked on his third film, Babel, set in 4 countries on 3 continents, and in 4 different languages. Babel consists of four stories set in Morocco, Mexico, the United States, and Japan. The film stars Brad Pitt, Cate Blanchett and Adriana Barraza. The majority of the rest of the cast, however, was made up of non-professional actors and some new actors, such as Rinko Kikuchi. It was presented at Cannes 2006, where González Iñárritu earned the Best Director Prize (Prix de la mise en scène). Babel was released in November 2006 and received seven nominations at the 79th Annual Academy Awards, including Best Picture and Best Director. González Iñárritu is the first Mexican director nominated for a DGA award and for an Academy Award. Babel went on to win Best Motion Picture in the drama category at the Golden Globe Awards on January 15, 2007. Gustavo Santaolalla won the Academy Award that year for Best Original Score. After Babel, Alejandro and his writing partner Guillermo Arriaga professionally parted ways, following González Iñárritu barring Arriaga from the set during filming (Arriaga told the LA Times in 2009 "It had to come to an end, but I still respect González Iñárritu").

In 2008 and 2009, González Iñárritu directed and produced Biutiful, starring Javier Bardem, written by González Iñárritu, Armando Bo, and Nicolas Giacobone. The film premiered at the Cannes Film Festial on May 17, 2010. Bardem went on to win Best Actor (shared with Elio Germano for La nostra vita) at Cannes. Biutiful is González Iñárritu's first film in his native Spanish since his debut feature Amores perros. For the second time in his career his film was nominated for Best Foreign Language Film at the 83rd Academy Awards. It was also nominated for the 2011 Golden Globes in the category of Best Foreign Film, for the 2011 BAFTA awards in the category of Best Film Not in the English Language and Best Actor. Javier Bardem's performance was also nominated for Academy Award for Best Actor.

In 2014, González Iñárritu directed Birdman, starring Michael Keaton, Naomi Watts, Edward Norton, Emma Stone, Zach Galifianakis, and Andrea Riseborough. The film is Iñárritu's first comedy. Birdman is about an actor who played an iconic superhero, and who tries to revive his career by doing a play based on the Raymond Carver short story What We Talk About When We Talk About Love. The film was released on October 17, 2014.

In April 2014, it was announced that González Iñárritu's next film as a director will be The Revenant, which he co-wrote with Mark L. Smith. It is based on the novel of same name by Michael Punke. The film stars Leonardo DiCaprio, Tom Hardy and Will Poulter with shooting began in September 2014, for a December 25, 2015 release.The Revenant is being filmed in Alberta and B.C. with production scheduled to wrap in February 2015. The film will be a 19th Century period piece, and is described as a "gritty thriller" about a fur trapper who seeks revenge against a group of men who robbed and abandoned him after he was mauled by a grizzly bear.

From 2001 to 2011, González Iñárritu directed several short films.

In 2001, he directed an 11 minute film segment for 11.09.01- which is composed of several short films that explore the effects of the 9/11 terrorist attacks from different points of view around the world.

In 2007, he made ANNA which screened at the 2007 Cannes Film Festival inside Chacun son cinéma. It was part of the 60th anniversary of the film festival and it was a series of shorts by 33 world-renown film directors.

In 2012, he made the experimental short film Naran Ja: One Act Orange Dance - inspired by L.A Dance Project's premiere performance. The short features excerpts of the new choreography Benjamin Millepied crafted for Moving Parts. The story takes place in a secluded, dusty space and centers around LADP dancer Julia Eichten.

In 2001/2002, González Iñárritu directed "Powder Keg", an episode for the BMW film series The Hire, starring Clive Owen as the driver.

In 2010, González Iñárritu directed Write the Future, a football-themed commercial for Nike ahead of the 2010 FIFA World Cup, which went on to win Grand Prix at the Cannes Lions advertising festival.

In 2012, he directed Procter and Gamble's "Best Job" commercial spot for the 2012 Olympic Ceremonies. It went on to win the Best Primetime Commercial Emmy at Creative Arts Emmy Awards.

Guy Maddin was born in Winnipeg, Manitoba, Canada, to Herdis Maddin (a hair-dresser) and Charles "Chas" Maddin (grain clerk and general manager of the Maroons, a Winnipeg hockey team). Maddin studied economics at the University of Winnipeg, working as a bank manager, house painter, and photographic archivist before becoming a film-maker. Maddin produced his first film in 1985, and since then his distinctive style of recreating and renovating silent film conventions and international critical acclaim have made him one of Canada's most celebrated directors. In 2003, Maddin also expanded his career to become an author and an installation artist.

Tomas Milian, an American actor born in Cuba; was trained at the Actors Studio. He appeared in a few plays on Broadway, as well as in a show by Jean Cocteau in Spoleto. Mauro Bolognini noticed him and that was the starting point of a rich cinematographic career in Italy, where he played in all manner of genres. He interpreted a mad psychopath in The Ugly Ones (1966) (aka "Bounty Killer"), a role he would then improve and diversify into an impressive gallery of neurotic and sadistic killers, first in "spaghetti westerns" (many directed by Sergio Corbucci), and then in violent action and police thrillers (many directed by Umberto Lenzi). His films gradually evolved into action comedies, as he played the recurrent characters of thief "Er Monnezza" and cop Nico Giraldi (the latter being originally based on the lead character in Serpico (1973)), two typically Roman characters who enjoyed great popularity in the '70s and '80s.

James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.

In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.

After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable every man.

Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.

Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his every man qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.

On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now."

Often mentioned as the greatest player in NFL history, this ruggedly handsome African American fullback for the Cleveland Browns first appeared on movie screens in the western Rio Conchos (1964), followed by a strong supporting role as convict commando "Jefferson" in the terrific WWII action film The Dirty Dozen (1967). He was kept busy with additional on screen appearances in other fast paced films including Ice Station Zebra (1968), 100 Rifles (1969) and El Condor (1970).

Brown's popularity grew during the boom of "blaxploitation" cinema in the early 1970s portraying tough "no nonsense" characters in Slaughter (1972), Black Gunn (1972) and Three the Hard Way (1974). His on-screen work in the latter part of the 1970s and 1980s was primarily centered around guest spots on popular TV shows such as CHiPs (1977) and Knight Rider (1982). However, Brown then resurfaced in better quality films beginning with his role as a fiery assassin in The Running Man (1987), he parodied the blaxploitation genre along with many other African-American actors in the comedy I'm Gonna Git You Sucka (1988), played an ex-heavyweight boxer in the sci-fi comedy Mars Attacks! (1996) and ironically played an ex-football legend in the Oliver Stone directed sports film Any Given Sunday (1999).

Additionally, Jim Brown was a ringside commentator for the first six events of the Ultimate Fighting Championships from 1993 through to 1996. A bona fide legend in American sports and a successful actor, he continues to remain busy in front of the camera with recent appearances in various sports shows & TV productions.

Barbra Streisand is an American singer, actress, director and producer and one of the most successful personalities in show business. She is the only person ever to receive all of the following: Oscar, Tony, Emmy, Grammy, Golden Globe, Cable Ace, National Endowment for the Arts, and Peabody awards, as well as the Kennedy Center Honor, American Film Institute's Lifetime Achievement honor and the Film Society of Lincoln Center Chaplin Award.

She was born in Brooklyn, New York, in 1942 to Diana Kind (née Ida Rosen), a singer turned school secretary, and Emanuel Streisand, a high school teacher. Her father died when she was 15 months old. She has a brother, Sheldon, and a half-sister, Roslyn Kind, from their mother's remarriage. As a child she attended the Beis Yakov Jewish School in Brooklyn. She was raised in a middle-class family and grew up dreaming of becoming an actress (or even an actress / conductor, as she happily described her teenage years at one of her concerts).

After a period as a nightclub singer and off-Broadway performer in New York City she began to attract interest and a fan base, thanks to her original and powerful vocal talent. She debuted on Broadway in the 1962 musical comedy "I Can Get It For You Wholesale" by Harold Rome, receiving a Tony Award nomination for Best Supporting Actress and a New York Drama Critics Poll award. The following year she reached great commercial success with her first Columbia Records solo releases, "The Barbra Streisand Album" (multiple Grammy winner, including "Best Album of the Year") and "The Second Barbra Streisand Album" (her first RIAA Gold Album); these albums, mostly devoted to composer Harold Arlen, brought her critical praise and, most of all, public acclaim all over the US. In 1964 she had another smash Broadway hit when she portrayed legendary Broadway star Fanny Brice in "Funny Girl" by Jule Styne and Bob Merrill; the show's main song, "People", became her first hit single and she appeared on the cover of Time magazine. After many TV appearances as a guest on various music and variety shows (such as an episode of The Judy Garland Show (1963), for which she was nominated for an Emmy), she signed an exclusive contract with CBS for a series of annual TV specials. My Name Is Barbra (1965) (which won an Emmy) and Color Me Barbra (1966) were extremely successful.

After a brief London stage period and the birth of her son Jason Gould (with then-husband Elliott Gould), in summer 1967 she gave a memorable free concert in New York City, "A Happening in Central Park", that was filmed and later broadcast (in an edited version) as a TV special; then she flew to Hollywood for her first movie, Funny Girl (1968), a filming of her stage success. The picture, directed by William Wyler, opened in 1968 and became a hit in the US and abroad, making her an international "superstar" and multiple award winner, including the Best Actress Oscar. After a series of screen musicals, such as Gene Kelly's Hello, Dolly! (1969) and Vincente Minnelli's On a Clear Day You Can See Forever (1970), she wanted to try comedies, resulting in such films as The Owl and the Pussycat (1970) and What's Up, Doc? (1972). She turned to dramas and turned out Up the Sandbox (1972) and the classic The Way We Were (1973), directed by Sydney Pollack and co-starring Robert Redford. The song "The Way We Were" (written by Marvin Hamlisch and Alan Bergman and Marilyn Bergman) became one of her biggest hits and most memorable and famous songs.

She returned to TV for a new special conceived as a musical journey covering many world musical styles, Barbra Streisand and Other Musical Instruments (1973), then returned (for contractual reasons) to her Fanny Brice role in a sequel to her hit "Funny Girl" film, Funny Lady (1975), and the next year turned out one of her most personal film projects, A Star Is Born (1976), one of the biggest hits of the year for which she won a Golden Globe for Best Actress and her second Oscar, for the song "Evergreen". Always extremely busy on the discography side, averaging one album a year throughout the '70s and '80s, she had a string of successful singles and albums, such as "You Don't Bring Me Flowers" (duet with Neil Diamond), "Enough is Enough" (with Donna Summer), "The Main Event" (from her film The Main Event (1979) with her friend Ryan O'Neal) and the album "Guilty", written for her by The Bee Gees' Barry Gibb, which sold more than 10 million copies worldwide.

She debuted as a director with the musical drama Yentl (1983), in which she also portrayed a Jewish girl who is forced to pass herself off as a man to pursue her dreams. The movie received generally positive reviews and the beautiful score by Michel Legrand and lyricists Marilyn Bergman and Alan Bergman stands up as one of Streisand's finest musical works. The film received several Oscar nominations, winning in two categories, but she was not nominated as Best Director, which disappointed both her and her fans, many of whom consider this the Academy's biggest "snub".

In 1985 her album "The Broadway Album" was an unexpected runaway success, winning a Grammy Award and helping to introduce a new generation to the world of American musical theater. In 1986 she performed in a memorable concert, after 19 years of stage silence, "One Voice". She returned to the screen in Nuts (1987), a drama directed by Martin Ritt, in the role of a prostitute accused of murder who fights to avoid being labeled "insane" at her trial. In 1991 she appeared in The Prince of Tides (1991), which many consider to be the pinnacle of her screen career, playing a psychiatrist who tries to help a man (Nick Nolte) to find the pieces of his past life. The film received seven Oscar nominations (but again NOT for Best Directing), but she did receive a nomination from the DGA (Directors Guild of America) for Best Director. In 1994 she returned to the stage after 27 years for a series of sold-out concerts (for the televised version of one of these, she won another Emmy).

In the 1990s she broke several personal records: with two #1 albums ("Back to Broadway" in 1993 and "Higher Ground" in 1997) and became the only artist to achieve a #1 album on the Billboard charts in the 1960s, 1970s, 1980s and 1990s (she extended this record into the 21st century in 2009 with the jazz album "Love is the Answer"). In 1996 she starred in her third picture as director, The Mirror Has Two Faces (1996), with Jeff Bridges and Lauren Bacall. The film had a "the girl got the guy" ending, and the same happened to her in real life--the next year she married well known TV actor James Brolin.

In 2000 she focused her career again on concerts ("Timeless") and in 2006-07 with a European tour. She made only two more films--a supporting role as a sex therapist mother in the Ben Stiller comedy Meet the Fockers (2004) and its sequel, Little Fockers (2010), alongside Dustin Hoffman and Robert De Niro. She published a book, "Passion for Design", in 2010 and celebrated her friendship with the Bergmans with an entire album of their songs, "What Matters Most" (2011), that debuted in the top 10.

After a long break from filming, she returned in a starring role for the 2012 holiday season with The Guilt Trip (2012), a mother/son picture co-starring Seth Rogen and directed by Anne Fletcher, and is working on putting together a film version of the well-known Jule Styne musical "Gypsy". In almost 50 years of career, Streisand has contributed to the show business industry in a personal and unique way, collecting a multi-generational fan base; she has a powerful and recognize vocal range, and a raucous and often self-deprecating sense of humor, which doesn't prevent her from showing the serious and dramatic sides of her personality. Her strong political belief in social justice infuses her professional career and personal life, and she makes no bones about what she believes; her willingness to put her money where her mouth is has resulted in some truly vicious attacks by many who hold opposite political views, but that hasn't stopped her from acting on her beliefs. She has been honored with the Humanitarian Award from the Human Rights Campaign, an Honorary Doctorate in Arts and Humanities from Brandeis University in 1995, an Honorary Doctorate of Philosophy from the Hebrew University of Jerusalem in 2013 and the bestowing by the government of France the title of Commander of the Order of Arts and Letters. She supports many humanitarian causes through the Streisand Foundation and has been a dedicated environmentalist for many years; she endowed a chair in environmental studies in 1987 and donated her 24-acre estate to the Santa Monica Mountains Conservancy. In addition, she was the lead founder for the Clinton Climate Change Initiative. This effort brought together a consortium of major cities around the world to drive down greenhouse gas emissions. She is a leading spokesperson and fund-raiser for social and political causes close to her heart and has often dedicated proceeds from her live concert performances to benefit programs she supports.

Julia Elizabeth Wells was born on October 1, 1935, in England. Her mother, Barbara Ward (Morris), and stepfather, both vaudeville performers, discovered her freakish but undeniably lovely four-octave singing voice and immediately got her a singing career. She performed in music halls throughout her childhood and teens, and at age 20, she launched her stage career in a London Palladium production of "Cinderella".

Andrews came to Broadway in 1954 with "The Boy Friend", and became a bona fide star two years later in 1956, in the role of Eliza Doolittle in the unprecedented hit "My Fair Lady". Her star status continued in 1957, when she starred in the TV-production of Cinderella (1957) and through 1960, when she played "Guenevere" in "Camelot".

In 1963, Walt Disney asked Andrews if she would like to star in his upcoming production, a lavish musical fantasy that combined live-action and animation. She agreed on the condition if she didn't get the role of Doolittle in the pending film production of My Fair Lady (1964). After Audrey Hepburn was cast in My Fair Lady, Andrews made an auspicious film debut in Walt Disney's Mary Poppins (1964), which earned her an Academy Award for Best Actress.

Andrews continued to work on Broadway, until the release of The Sound of Music (1965), the highest-grossing movie of its day and one of the highest-grossing of all time. She soon found that audiences identified her only with singing, sugary-sweet nannies and governesses, and were reluctant to accept her in dramatic roles in The Americanization of Emily (1964) and Alfred Hitchcock's thriller Torn Curtain (1966). In addition, the box-office showings of the musicals Julie subsequently made increasingly reflected the negative effects of the musical-film boom that she helped to create. Thoroughly Modern Millie (1967) was for a time the most successful film Universal had released, but it still couldn't compete with Mary Poppins or The Sound of Music for worldwide acclaim and recognition. Star! (1968) and Darling Lili (1970) also bombed at the box office.

Fortunately, Andrews did not let this keep her down. She worked in nightclubs and hosted a TV variety series in the 1970s. In 1979, Andrews returned to the big screen, appearing in films directed by her husband Blake Edwards, with roles that were entirely different from anything she had been seen in before. Andrews starred in 10 (1979), S.O.B. (1981) and Victor/Victoria (1982), which earned her an Oscar nomination for Best Actress in a Leading Role.

She continued acting throughout the 1980s and 1990s in movies and TV, hosting several specials and starring in a short-lived sitcom. In 2001, she starred in The Princess Diaries (2001), alongside then-newcomer Anne Hathaway. The family film was one of the most successful G-Rated films of that year, and Andrews reprised her role as Queen Clarisse Renaldi in The Princess Diaries 2: Royal Engagement (2004). In recent years, Andrews appeared in Tooth Fairy (2010), as well as a number of voice roles in Shrek 2 (2004), Shrek the Third (2007), Enchanted (2007), Shrek Forever After (2010), and Despicable Me (2010).

Principal is the elder daughter of Ree (née Veal) and Victor Rocco Principal. Her paternal grandparents were Italian, while her mother's family was from Gordon, Georgia, and South Carolina. Her father, a United States Air Force sergeant, was often transferred to different duty stations, so the family constantly moved, and Victoria grew up in London, Florida, Puerto Rico, Massachusetts, and Georgia, among other places. She and her sister attended 17 different schools. Victoria's acting career began when she made a commercial at age five, and she began modeling in high school. She enrolled at Miami-Dade Community College, and wanted to study chiropractic medicine. However, being seriously injured in a car crash at age 18 made her refocus her energy on her love of acting. She moved to New York City, where she worked as a model and actress. She then studied at London's Royal Academy of Dramatic Art, and moved to Los Angeles, California in 1971.

Her first film was as a Mexican mistress in The Life and Times of Judge Roy Bean (1972), starring Paul Newman. Four years later, she became so disappointed with her career that she quit acting and spent the next three years working as an agent. In 1978, she planned on going to law school and later become a studio executive, but Aaron Spelling offered her a year's tuition to accept a role in the pilot of Fantasy Island (1977). She agreed, and soon after that, she landed the role of Pamela Barnes Ewing on CBS' long-running soap opera Dallas (1978). She left the series after nine years, and began her own production company, Victoria Principal Productions. She continues to work as an actress and producer, and has also created a line of skin care products and written three books about beauty and skin-care.

Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).

Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.

With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.

In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).

In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.

Fredric March began a career in banking but in 1920 found himself cast as an extra in films being produced in New York. He starred on the Broadway stage first in 1926 and would return there between screen appearances later on. He won plaudits (and an Academy Award nomination) for his send-up of John Barrymore in The Royal Family of Broadway (1930). Four more Academy Award nominations would come his way, and he would win the Oscar for Best Actor twice: for Dr. Jekyll and Mr. Hyde (1931) and The Best Years of Our Lives (1946). He could play roles varying from heavy drama to light comedy, and was often best portraying men in anguish, such as Willy Loman in Death of a Salesman (1951). As his career advanced he progressed from leading man to character actor.